Abstract

En este texto se reflexiona sobre la capacidad de la teoría del polisistema para analizar la traducción de textos políticos. Partiendo de las definiciones de cultura y centralidad esbozadas por Even Zohar, se concluye que existe una exclusión de lo político del objeto de estudio. La hipótesis es que, al incluir en su modelo a un sujeto traductor actuante en las luchas materiales del sistema político-cultural, el polisistema, como teoría, cobra nuevo valor y aplicabilidad. En este nuevo contexto, el traductor actúa sobre el sistema receptor como tal, pero también como intelectual y militante. Una derivación obvia es que la traducción deja de pensarse como mera actividad accesoria y pasa a conformar una red de relaciones en la que traductor, militante e intelectual son facetas de un mismo sujeto, aquí definido como internacional. Se toma como ejemplo de sistema político y cultural el anarquismo de principios de siglo xx y se destaca la figura de Diego Abad de Santillán, quien, desde su actividad como dirigente, periodista, escritor y traductor, canaliza a través de su persona las relaciones entre diversos subsistemas de una especie de macrosistema internacional de los movimientos anarquistas.

Abstract

Horace’ Ars poetica experienced up to four different Spanish translations, adaptations and/or scholium in the last decade of the 16th century: Vicente Espinel’s (1591), Luis de Zapata’s (1592), Juan Villén de Viedma’s (1599) and Jaime Juan Falcó’s (1600). Luis de Zapata’s translation, published in Lisbon, tried to be the most faithful to the original Latin version and also it tried to respect, as far as possible, Horace’s main use of language theory. Zapata’s idea on the translation process anticipates some further ideas which did not yet have strong roots in Spain. His translation foreshadows some of them but they did not find too much enthusiasm among his contemporaries. This paper aims to review this largely unknown Horatian translation.

Abstract

Professor Marcello’s work treats the Italian translation of Con quien vengo, vengo, realized by the Italian actress Angiola d’Orso in 1666. The analysis of the translation seeks to establish the differences of interpretation from the Italian perspective of a Spanish text seen as contemporary.

Abstract

At the beginning of the nineteenth century, in Italy, the received view of Calderón’s theatrical works saw them in contrast with the prevailing classicism at the theoretical level. However, with the growing establishment of romanticism, there was an exploitation of the freedom of expression and exchange among national literatures. As a consequence, there was a new interest in the great Spanish playwright. We find the translations by Biagio Gamboa, Giacinto Battaglia, and particularly Pietro Monti: a remarkable and well- read parish priest from a small village nearby Como, who published the Italian translations of 14 dramas by Calderón between 1838 and 1855.We consider one of them, La aurora en Copacabana, to give an idea of the approach of this translator to Calderón’s text and of the influence of the Milanese milieu in which Monti lived.

Abstract

Abstract: This article attempts to show how the translation activity can contribute to the recovery of any European minorized language. This is done by combining the concept of language identity and the concept of personal adoptive language, as well as taking into account the experience of the Valencian society. Language policies that could be implemented without assuming serious budget problems for the European Union are presented, being the use of translation one of the strategies suggested.Keywords: translation, recovery, identity languages, adoptive languages, Catalan.

Abstract

In this study we analyze the English translations of Ausiàs March already carried out (Terry, Conejero-Ribes-Keown, Wittlin and Archer), and we pay attention to the criteria and the solutions used. Here the emphasis is on those questions related to the lexicosemantic choice that determines the general strategy of the new translation into prose that the author of this study has carried out for IVITRA. The article is also concerned about the interaction between translation and the improvement of the knowledge of the original itself, as a consequence of translating it and having to understand it completely, even up to the point of proposing some amendments to the criticophylologic fixation.

Abstract

Abstract: In the 1939 exile, translation played a somewhat subsidiary role. Original works were the priority, because saving words had become urgent. “Professional” translators had to use other languages, especially Spanish, while “vocational” translators translated into Catalan for themselves, for the future. The press in exile could only access a few token literary translations or anonymous translations of informational documents. The journals Full Català, Quaderns de l’Exili and Lletres, published in Mexico in the 1940s, illustrate differing conceptions of language and translation.Key words: Exile, translation, Catalan language, Full Català, Quaderns de l’Exili, Lletres, Lluís Ferran de Pol, Joan Sales, Agustí Bartra.

Abstract

Abstract: This paper is an analysis of four translations into Catalan of the Odyssey 6th song. Two of the texts were translated by Carles Riba, and published in 1919 and 1948, another one by Joan Aymerich in 1997 and the last one was translated by Joan F. Mira in 2011. From a descriptive perspective, the study apply instruments of corpus linguistics to focus on how the four translations deal with aspects related to the field of translation studies, such as simplifi cation, explicitation, normalization, interference and the use of some lemmas. In turn, the analysis allows us to explain the use of these lemmas in the cultural and historical context in which the author translated the text. Results from this analysis show that the translations are directly linked to the period in which they were produced and that this link can be deeply personal.Key words: translation, corpus linguistics, Odissea, Carles Riba, Joan Aymerich, Joan F. Mira.

Abstract

The translations of Shakespeare’s plays by Josep M. de Sagarra marked a turning point regarding the previous translations of Shakespeare’s works into Catalan. This was mainly due to the number of translated plays (twenty-eight) and the fact that these translations were meant to be performed on stage. This paper reviews the main critical comments about Sagarra’s translations of Shakespeare’s plays. One of them is that some options in Sagarra’s texts sagarregen, that is, they contain more of Sagarra’s style than Shakespeare’s. The aim of this article is to refine the concept of sagarrejar and to identify the main characteristics of Sagarra’s way of translating Shakespeare. To do so, key linguistic aspects of his translation of Macbeth have been analysed: register, intensification, preferential words, addition and deletion of information, total changes of meaning and metre.